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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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You are totally correct, however a fair bit of what I (we) shoot is delivered at the end of the the day, and TBH I can't bring myself to delete OG files when our productions are in the six digits. I ended up buying two 1TB owc cards, but still download and backing up to hard drives for a client and or producer end of a shoot day and asking them to hang around for another 40 min after a 12-15 hour day is not pleasant. Also I've seen this a few times on set where they shoot Raw and convert over to PRR LT without utilizing any of the raw capabilities and then deleting the raw, which makes me always why shoot raw in the first place!!!! -
At this rate they will shut down for good in very little time. That's cool. Have fun! And while you're at it maybe copy-paste your GH4 review on DPR on your new site before it's too late! 😆 -
Yes! I'm pretty sure 90% of the slightly older gear serves perfectly well for high-quality video. There are some true gems out there that seem to be relegated to obscurity, being the most egregious example Olympus' E-M1X. In the DSLR front I'm also certain Nikon's D780 is more than good for most video situations, or even Canon's good-ol' 90D. This only makes sense if you're buying used, of course.
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At least so it seems https://www.dpreview.com/news/panasonic-did-what-apple-sony-and-nikon-couldnt-overturn-a-red-raw-video-patent/ -
The FX2 makes a lot more sense than people give it credit for. If you actually need open gate, internal RAW, 4K120 or the stacked sensor, then sure: FX5. If you don't, you're paying nearly another $2K for features you may never use. FX2 gives you full frame, 4K60, S-Log3, proper AF and an EVF already built in. For a lot of jobs that's enough. Different job. Different tool.
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